Relevant bibliographies by topics / Opers / Journal articles

Journal articles on the topic 'Opers'

To see the other types of publications on this topic, follow the link: Opers.
Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Opers.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Ben-Zvi, David, and Indranil Biswas. "Opers and theta functions." Advances in Mathematics 181, no. 2 (January 2004): 368–95. http://dx.doi.org/10.1016/s0001-8708(03)00069-0.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Biswas, Indranil, Sorin Dumitrescu, and Christian Pauly. "Parabolic $\mathrm{SL}_{r}$ -opers." Illinois Journal of Mathematics 64, no. 4 (December 2020): 493–517. http://dx.doi.org/10.1215/00192082-8720482.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ben-Zvi, David, and Edward Frenkel. "Spectral curves, opers and integrable systems." Publications mathématiques de l'IHÉS 94, no. 1 (December 2001): 87–159. http://dx.doi.org/10.1007/s10240-001-8193-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

HE, Siqi, and Rafe MAZZEO. "Opers and the twisted Bogomolny equations." Annales scientifiques de l'École Normale Supérieure 55, no. 5 (2022): 1329–56. http://dx.doi.org/10.24033/asens.2517.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jeong, Saebyeok, and Nikita Nekrasov. "Opers, surface defects, and Yang-Yang functional." Advances in Theoretical and Mathematical Physics 24, no. 7 (2020): 1789–916. http://dx.doi.org/10.4310/atmp.2020.v24.n7.a4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Collier, Brian, and Andrew Sanders. "(G,P)-Opers and global Slodowy slices." Advances in Mathematics 377 (January 2021): 107490. http://dx.doi.org/10.1016/j.aim.2020.107490.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Labourie, François. "Goldman algebra, opers and the swapping algebra." Geometry & Topology 22, no. 3 (March 16, 2018): 1267–348. http://dx.doi.org/10.2140/gt.2018.22.1267.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Mukhin, Evgeny, and Alexander Varchenko. "Miura opers and critical points of master functions." Central European Journal of Mathematics 3, no. 2 (June 2005): 155–82. http://dx.doi.org/10.2478/bf02479193.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Wakabayashi, Yasuhiro. "Moduli of Tango Structures and Dormant Miura Opers." Moscow Mathematical Journal 20, no. 3 (May 14, 2020): 575–636. http://dx.doi.org/10.17323/1609-4514-2020-20-3-575-636.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Masoero, Davide, and Andrea Raimondo. "Opers for Higher States of Quantum KdV Models." Communications in Mathematical Physics 378, no. 1 (June 25, 2020): 1–74. http://dx.doi.org/10.1007/s00220-020-03792-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Lacroix, Sylvain, and Benoît Vicedo. "Cyclotomic Gaudin Models, Miura Opers and Flag Varieties." Annales Henri Poincaré 19, no. 1 (October 13, 2017): 71–139. http://dx.doi.org/10.1007/s00023-017-0616-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

HOSHI, YUICHIRO. "A NOTE ON DORMANT OPERS OF RANK IN CHARACTERISTIC." Nagoya Mathematical Journal 235 (February 19, 2018): 115–26. http://dx.doi.org/10.1017/nmj.2018.4.

Full text
Abstract:
In this paper, we prove that the set of equivalence classes of dormant opers of rank $p-1$ over a projective smooth curve of genus ${\geqslant}2$ over an algebraically closed field of characteristic $p>0$ is of cardinality one.
APA, Harvard, Vancouver, ISO, and other styles
13

Lacroix, Sylvain, Benoît Vicedo, and Charles Young. "Affine Gaudin models and hypergeometric functions on affine opers." Advances in Mathematics 350 (July 2019): 486–546. http://dx.doi.org/10.1016/j.aim.2019.04.032.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

Guha, Partha. "Euler–Poincaré Flows on sl n Opers and Integrability." Acta Applicandae Mathematicae 95, no. 1 (January 31, 2007): 1–30. http://dx.doi.org/10.1007/s10440-006-9078-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Plaza Martín, Francisco Jose. "Representations of the Witt Algebra and Gl(n)-Opers." Letters in Mathematical Physics 103, no. 10 (June 13, 2013): 1079–101. http://dx.doi.org/10.1007/s11005-013-0635-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

TSEBRII, Iryna. "Lysenko children's opers and possibilities of using their musical material." Humanities science current issues 3, no. 41 (2021): 41–46. http://dx.doi.org/10.24919/2308-4863/41-3-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
17

Frenkel, E. "Opers on the Projective Line, Flag Manifolds and Bethe Ansatz." Moscow Mathematical Journal 4, no. 3 (2004): 655–705. http://dx.doi.org/10.17323/1609-4514-2004-4-3-655-705.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

Frenkel, Edward, and Constantin Teleman. "Self-extensions of Verma modules and differential forms on opers." Compositio Mathematica 142, no. 02 (March 2006): 477–500. http://dx.doi.org/10.1112/s0010437x05001958.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Mukhin, Evgeny, and Alexander Varchenko. "Discrete Miura Opers and Solutions of the Bethe Ansatz Equations." Communications in Mathematical Physics 256, no. 3 (February 18, 2005): 565–88. http://dx.doi.org/10.1007/s00220-005-1288-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Frenkel, Edward, and David Hernandez. "Spectra of Quantum KdV Hamiltonians, Langlands Duality, and Affine Opers." Communications in Mathematical Physics 362, no. 2 (July 30, 2018): 361–414. http://dx.doi.org/10.1007/s00220-018-3194-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Hollands, Lotte, and Omar Kidwai. "Higher length-twist coordinates, generalized Heun’s opers, and twisted superpotentials." Advances in Theoretical and Mathematical Physics 22, no. 7 (2018): 1713–822. http://dx.doi.org/10.4310/atmp.2018.v22.n7.a2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Frenkel, Edward. "Wakimoto modules, opers and the center at the critical level." Advances in Mathematics 195, no. 2 (August 2005): 297–404. http://dx.doi.org/10.1016/j.aim.2004.08.002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

Basu, Suratno, Arjun Paul, and Arideep Saha. "System of Hodge bundles and generalized opers on smooth projective varieties." Journal of Geometry and Physics 145 (November 2019): 103484. http://dx.doi.org/10.1016/j.geomphys.2019.103484.

Full text
APA, Harvard, Vancouver, ISO, and other styles
24

Joshi, Kirti, and Christian Pauly. "Hitchin–Mochizuki morphism, opers and Frobenius-destabilized vector bundles over curves." Advances in Mathematics 274 (April 2015): 39–75. http://dx.doi.org/10.1016/j.aim.2015.01.004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

GOTO, Toshifumi. "OIA. ádbhuta-, ádabdha-, YAv. abda-, dapta-, and OIA. addhá, OAv. OPers. azda." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 54, no. 1 (2005): 325–20. http://dx.doi.org/10.4259/ibk.54.325.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

Feigin, Boris, Edward Frenkel, and Leonid Rybnikov. "Opers with irregular singularity and spectra of the shift of argument subalgebra." Duke Mathematical Journal 155, no. 2 (November 2010): 337–63. http://dx.doi.org/10.1215/00127094-2010-057.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Talalaev, D., and A. Chervov. "KZ equation, G-opers, quantum Drinfeld–Sokolov reduction, and quantum Cayley–Hamilton identity." Journal of Mathematical Sciences 158, no. 6 (April 16, 2009): 904–11. http://dx.doi.org/10.1007/s10958-009-9415-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Wieczorek, Sławomir. "O historii Opery Robotniczej w Krakowie (1954–1957)." Muzyka 65, no. 3 (November 19, 2020): 69–94. http://dx.doi.org/10.36744/m.569.

Full text
Abstract:
Stanisław Drabik był pomysłodawcą i organizatorem dwóch specyficznych placówek operowych, których historia przez wiele lat pozostawała zapomniana. W latach 1947–1949 we Wrocławiu prowadził Operę Robotniczą, która przygotowała w 1948 wystawienie opery Flis Stanisława Moniuszki. Do pomysłu tego powrócił w 1954 roku w Krakowie, gdzie działała pod jego kierownictwem druga placówka tego rodzaju. Po dwóch latach prób w lipcu 1956 roku krakowska Opera Robotnicza przedstawiła inscenizację Halki Stanisława Moniuszki na scenie Teatru im. Juliusza Słowackiego. Oficjalnie zespół miał składać się z utalentowanych muzycznie robotników Kombinatu Metalurgicznego w Nowej Hucie, jednak rzeczywisty skład zespołu znacznie odbiegał od tych deklaracji. Finalnym celem działań Drabika było zorganizowanie w Krakowie i kierowanie operą zawodową, a nawiązanie do haseł stalinowskiej propagandy o upowszechnianiu sztuki wśród robotników miały mu pomóc uzyskać finansowe i administracyjne wsparcie instytucji państwowych dla jego planów. Przemiany polityczne polskiego Października, destalinizacja i odwilż w życiu artystycznym skutecznie przekreśliła te plany. Opera Robotnicza straciła dyskursywny i instytucjonalny parasol ochronny. Premiera Halki została bardzo negatywnie przyjęta przez krytyków – pisano o profanacji narodowej opery, fatalnym poziomie aktorskim i muzycznym przedstawienia oraz o nadużyciach finansowych. Część z tych krytyk została jednak sformułowana przez przedstawicieli konkurencyjnej wobec Drabika instytucji walczącej o powstanie zawodowej opery w Krakowie. Podjęta przez ponad rok po premierze walka zespołu i Stanisława Drabika o utrzymanie placówki nie zakończyła się powodzeniem, a Opera Robotnicza popadła w całkowite zapomnienie.
APA, Harvard, Vancouver, ISO, and other styles
29

Marković, Tatjana. "Kako inter/nacionalna je opera?" Musicological Annual 48, no. 1 (June 1, 2012): 91–107. http://dx.doi.org/10.4312/mz.48.1.91-107.

Full text
Abstract:
Od 19. stoletja dalje se izraz »narodna opera« uporablja v dvojnem pomenu: poleg omenjene politične reference za »obrobno« območje (V in JV Evropa, Skandinavija, Iberski polotok, deloma Nemčija) pomeni tudi narodno tradicijo opere, vključno s »središčem« (Italija, Francija, Anglija, deloma Nemčija). Prispevek nudi zemljevid ključnih vprašanj, povezanih z narodno opero in njenim dojemanjem in razbija tradicionalno dihotomijo »narodno-mednarodno« v opernih študijah.
APA, Harvard, Vancouver, ISO, and other styles
30

Basu, Suratno, Arjun Paul, and Arideep Saha. "Corrigendum to “System of Hodge bundles and generalized opers on smooth projective varieties” [J. Geom. Phys. 145 (2019) 103484]." Journal of Geometry and Physics 150 (April 2020): 103614. http://dx.doi.org/10.1016/j.geomphys.2020.103614.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

Severn, John R. "Opera-to-opera adaptation revived: Barrie Kosky and Elena Kats-Chernin’s Monteverdi Trilogie at the Komische Oper Berlin, instrumentation, localization and community." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 41–59. http://dx.doi.org/10.1386/jafp_00068_1.

Full text
Abstract:
In 2012, Barrie Kosky opened his first season as head of the Komische Oper Berlin by staging adaptations of three Monteverdi operas. Alongside using more familiar forms of adaptation, Kosky commissioned Elena Kats-Chernin to adapt the scores, focusing on instrumentation. While opera-to-opera adaptation is comparatively rare today, it has a long and rich history. The article first proposes three categories of reasons for opera-to-opera adaptation in the past. It then sets Kosky and Kats-Chernin’s Monteverdi productions in the context of this largely forgotten history, arguing that a historical awareness allows the Monteverdi Trilogie to be understood in terms of continuity rather than rupture, and clarifies some of Kosky and Kats-Chernin’s approaches in terms of a vigorous but respectful engagement with opera and its place in the modern city, in terms of recuperating aspects of operatic reception now frequently lost, and in prompting a reconsideration of localization and community inclusion. The article argues that the combination of Kats-Chernin’s adaptation for a variety of western and non-western, classical and non-classical instruments, and the visibility of the instrumentalists, including migrant musicians, that Kosky’s staging enabled set the tone for Kosky’s tenure at the Komische Oper, especially in terms of community and inclusion.
APA, Harvard, Vancouver, ISO, and other styles
32

Marković, Tatjana. "The myth on the “first national opera”: The cases of Serbia and Croatia." Studia Musicologica 52, no. 1-4 (March 1, 2011): 165–77. http://dx.doi.org/10.1556/smus.52.2011.1-4.12.

Full text
Abstract:
The so-called first national operas were usually not the earliest national operas, but works arbitrarily chosen in accordance to the given political and cultural circumstances. In the majority of cases, they reached this status during Romanticism, when the ideology of nationalism and historicism was dominant. This fact determined the topic and the language of libretti, as well as the musical means themselves, leading to the “contradictory” result of “global” musical setting of “local” narrative. The understanding what is national and what is international, and for whom, opens the question if “national opera” exists at all. It seems that the key criterion in this respect is actual reception. This thesis will be considered through the cases of the first Croatian and Serbian operas, written between 1846 and 1904, in the framework of their social and political contexts.
APA, Harvard, Vancouver, ISO, and other styles
33

Chachulski, Jakub. "Genologia i polityka. Swoistość „Cudu, czyli krakowiaków i górali” w horyzoncie gatunków operowych końca XVIII stulecia." Muzyka 66, no. 3 (October 19, 2021): 117–47. http://dx.doi.org/10.36744/m.976.

Full text
Abstract:
Dotychczasowe badania genologiczne opery Cud, czyli Krakowiacy i Górale ograniczały się zasadniczo do stwierdzenia pokrewieństwa utworu z singspielem bądź opera-comique, ze względu na obecność dialogów mówionych. Nowe spojrzenie wprowadził ostatnio Adam Tomasz Kukla, wskazując na szczegółowe cechy opery łączące ją zarówno z dwoma wymienionymi gatunkami jak i operą buffa. Artykuł niniejszy podejmuję próbę przekroczenia ograniczeń dotychczasowych rozpoznań poprzez wnikliwsze uwzględnienie historycznego kontekstu genologicznego opery. W tym ujęciu kluczowe stają się dwa aspekty dzieła wykraczające poza krąg gatunków operowych uprawianych w stanisławowskiej Warszawie. Przyjęcie metodologii badań nad operą dialogową (Dialogoper) wypracowanych Thomasa Betzwiesera pozwala uchwycić nowatorstwo dzieła w zakresie łączenia numerów muzycznych z tekstem mówionym, wykraczające poza dominujące w środowisku warszawskim wpływy wiedeńskiego singspielu i opery buffa oraz dotychczasowa polską oryginalną twórczość operową, zbliżające się zaś raczej do pewnych koncepcji francuskich. Istotnie nowatorska – i znajdująca podówczas pewne paralele jedynie w francuskiej twórczości operowej doby rewolucji – okazuje się także dramaturgia scen chóralnych opery, ściśle wpisująca się w fenomen opisany przez Jamesa Parakilasa formułą „chór jako reprezentacja polityczna”. Oba spostrzeżenia, ujęte w kontekście historycznych okoliczności prapremiery i horyzontu oczekiwań ówczesnej publiczności, dają się połączyć na płaszczyźnie całościowej interpretacji wiążącej gatunkową nowatorskość utworu z zamierzonym oddziaływaniem społeczno-politycznym, to jest apelem powstańczym połączonym z radykalnymi ideami egalitarnej redefinicji wspólnoty narodowej. Kluczową rolę odegrała zmiana znaczenia pierwiastka ludowości, wysuniętego z początku jako czynnik konstytuujący dramatyczno-estetyczną spójność spektaklu w duchu baletowo-chóralnego divertissement, potem jednak zreinterpretowanego poprzez polityczną emancypację chóralnego podmiotu zbiorowego.
APA, Harvard, Vancouver, ISO, and other styles
34

Neville, Don. "Opera or ortorio?: Metastasio's sacred opere serie." Early Music XXVI, no. 4 (November 1998): 596–608. http://dx.doi.org/10.1093/earlyj/xxvi.4.596.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Neville, D. "Opera or oratorio?: Metastasio's sacred opere serie." Early Music 26, no. 4 (November 1, 1998): 596–607. http://dx.doi.org/10.1093/em/26.4.596.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Law, J. K. "At the Opera: Tales of the Great Operas." Opera Quarterly 20, no. 1 (January 1, 2004): 109–10. http://dx.doi.org/10.1093/oq/kbh009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16.2-101-125.

Full text
Abstract:
The article was inspired by the authors’ reviews of modern productions of Handel’s Baroque operas in 2019, presented in the three German cities: Halle, Bad Lauchstädt and Bernburg. Halle, where Georg Friedrich Handel (1685–1759) was born, is also a venue of the annual International Handel Festival, dedicated to the works of the great Saxon and his contemporaries. The concept of the festival in 2019, Sensitive, heroic, sublime: Handel’s women, was devoted to studying the female images embodied in his operas. In considering the scientific and artistic concept, the authors concluded that the directors’ understanding of these operas has expanded through the integration into musical drama of the compositional principles of film editing and the expressive means of modern, primarily screen arts. To study this phenomenon, we turned to the scientific tools developed in Russia by the two Soviet researchers who have become seminal in their field. One of them was the psychologist Lev Vygotsky, who, exploring the spiritual world of the protagonists in fine literature, revealed their psychological contradictions, expressed in the conflict of the narrative and the plot. Another The other, Sergei Eisenstein, was well-versed in Vygotsky’s manuscript of his study, Psychology of Art, and, influenced by some of these ideas, created his own “psychology of art”, which is set out in his works of various years. The core of this concept was “the transition from the Expressive Movement to the image of the art work… as a process of interaction of layers of consciousness” [1, p. 188], which allowed for multiple entries into the artistic image (one of the authors has applied this method of analysis in a work devoted to the integration of the principles of painting and cinema: [2, pp. 63–86]). Some features of the cinematograph also support such entries, and the first among equals here is the principle of intellectual editing developed by Eisenstein. In his montage theory, other types of editing—linear, parallel, associative—have been generalized and developed into a large-scale system for exploring the psychology of heroes in art. The essence of these processes, identified in the article, made it possible for the authors to discern the phenomenon of building the meaning in the Halle directors’ interpretations of Handel’s operas, which arises from the merger of the two seemingly irreconcilable and conflicting layers of consciousness: Baroque and eclectic modern, which emerged at the turn of the last century.
APA, Harvard, Vancouver, ISO, and other styles
38

KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16-101-125.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

Full text
Abstract:
If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.
APA, Harvard, Vancouver, ISO, and other styles
40

Solomonova, Olga. "Interpretation Content of the Modern Musical Theater: Portrait in the Style of ad Libitum." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 143–59. http://dx.doi.org/10.31318/2522-4190.2021.130.231226.

Full text
Abstract:
Relevance of the study. The interpretive space of modern musical theater is one of the most dynamic, multivariate and modernized world culture phenomena. In the era of culture “non-classical paradigm” the past cult operas viability is maintained through their renewed representation and “alienation”. The refusal to perceive the author’s work as complete and the only possible for realization emancipates the modern interpretive strategy and opens up endless possibilities until the emergence of the “corporate” opera text’s phenomenon. So the interpretation process extends to the work’s “inner sanctum” — to its music and thus allows the involvement of the modern artist’s personality to co-author with the composer of the past. The unique example is the opera project “Boris” by corporate authorship of Modest Mussorgsky and contemporary Russian-German composer Sergei Nevsky (2020, Staatsoper). The need for update the ideas about the modern musical theater’s interpretive strategy and the lack of this project research provides the relevance and the innovative essence of the material.Main objective of the study is to determine the modern interpretive strategies of modern opera theater on the example of the project “Boris”.Methodology. The material specificity led to the adaptation of the fellowing research methods: the interpretive — to identify the modern musical theater main interpretive strategies in relation to the production of “Boris Godunov” by M. Mussorgsky with an emphasis on the project “Boris”; the hermeneutic-semantic — for the purpose of reveal the intonation-image specificity of the analyzed S. Nevsky’s project; the comparative — for juxtaposition of two co-operas authored by Mussorgsky and Nevsky as components of the project “Boris”; the holistic intonation analysis — to study the intonation and drama specifics of the hybrid work.Results and conclusions. The modernity interpretive reality initiates the emergence of radically new trends in the opera interpretation. An example of the modern musical theater innovative strategy is the hybrid project “Boris” synthesized from two stylistically contrasting operas that belong to different epochs: “Boris Godunov” by M. Mussorgsky and “Second-hand Time” by S. Nevsky. The research considered the intonation-genre specificity and its indicators from the point of view of the associative musical text theory. The associative text of “Boris” exists in two versions: as a quotation (in S. Nevsky’s opera “Second-hand Time” was adapted the material from “Boris Godunov” by M. Mussorgsky); b) in the form of a whole work presented by Mussorgsky’s opera “Boris Godunov” in the framework of the entire project “Boris” which is a unique opera phenomenon.
APA, Harvard, Vancouver, ISO, and other styles
41

Hunt, Edmund. "Chaya Czernowin, Heart Chamber, Deutsche Oper Berlin, 15 November 2019." Tempo 74, no. 292 (March 6, 2020): 81–82. http://dx.doi.org/10.1017/s004029821900127x.

Full text
Abstract:
A man and a woman fall in love: of all operatic clichés, this is surely one of the most perennial. However, even before the curtain was raised at the Deutsche Oper, there were indications that there was much more to Heart Chamber than this simplification might suggest. Indeed, the trajectory of Chaya Czernowin's previous three operas, beginning with Pnima … Ins Innere (1998–99), followed by Zaïde / Adama (2004–05) and most recently Infinite Now (2016), which was reviewed in issue 282 of this publication, shows that this is a composer who seeks to explore and question the very nature of opera whenever she works within the genre.
APA, Harvard, Vancouver, ISO, and other styles
42

Winkelhorn, Kathrine, and Anja Mølle Lindelof. "Fra glemte værker til iscenesættelse som form." Peripeti 13, no. 25 (May 28, 2021): 64–75. http://dx.doi.org/10.7146/peri.v13i25.109577.

Full text
Abstract:
“Opera is an omnivorous monster. Opera is the result of countless skilled craftsmen, technicians, musicians, singers, artists and administrators work. Opera is passion. Opera is lie and truth in the purest form” as stage director Kirsten Dehlholm wrote in the program to Rachmaninov Troika – hers and Hotel Pro Forma’s staging of Sergei Rachmaninoff’s three operas: Aleko, The Miserly Knight and Fransisca da Rimini produced by the Belgian opera, La Monnaie in Brussels, June 2015 - the first time these three operas were being staged together. In this article we discuss the concept of the art work by examining how Rachmaninov Troika balances between 1) revitalizing these three more or less forgotten music historical operas and/or is creating a new piece of work.
APA, Harvard, Vancouver, ISO, and other styles
43

Babenko, Oksana Vasil'evna. "The origins of Russian Opera as the key to understanding modern opera art." Культура и искусство, no. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.

Full text
Abstract:
The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus’. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI – XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. The first theatre in Russia was built in 1672 for the Tsar and received a name “The Comedy Mansion”. It staged operas on the Biblical themes. The first secular operas appeared in the second half of the XVIII century. In 1756, the Empress Elizabeth of Russia turned the theater into a state and public institution. Russian operas of that time mirrored the Western models to a large extent. The emergence of truly national operas is related to the name of M. I. Glinka (1804-1857). The conclusion is made that modern Opera borrowed the principles of nationalism and humanism from its precursors. The author draws parallels between the first operas, classical Russian Opera on the one hand, and modern Russian Opera on the other. Analysis is carried out on the origin of the plots and libretto of the operas. P. I. Tchaikovsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, S. V. S. V. Rachmaninoff, S. S. Prokofiev, D. D. Shostakovich and others, same as the inventors of the opera, wrote their operas based on literary and historical storylines.
APA, Harvard, Vancouver, ISO, and other styles
44

Chachulski, Jakub. "„Zły smak i gminna przesada”. Kilka uwag o muzyczno-dramatycznej konstrukcji opery Sułtan Wampum Józefa Elsnera na tle oryginalnego libretta Augusta von Kotzebue." Muzyka 64, no. 4 (December 31, 2019): 3–36. http://dx.doi.org/10.36744/m.236.

Full text
Abstract:
Przedmiotem artykułu jest opera Sułtan Wampum Józefa Elsnera z tekstem Wojciecha Bogusławskiego i Augustyna Glińskiego, rozpatrywana jako adaptacja niemieckiego libretta Augusta von Kotzebuego. Zakwestionowane zostaje stanowisko cytowanego w tytule warszawskiego recenzenta z 1815 r., zarzucającego tłumaczom wprowadzenie zbędnych i „gminnych” dodatków, zamiast tego dodane fragmenty ujęte są jako warunkowane spójną koncepcją adaptacyjną Elsnera i Bogusławskiego dotyczącą muzyczno-dramatycznego kształtu dzieła, której głównym elementem była transformacja gatunkowa specyficznego singspielu Kotzebuego w pełnoprawną operę komiczną. Omówiona zostaje zmiana struktury aktowej i charakter dodanych numerów solowych. Szczegółowo omówione są obszerne finały, stanowiąca zasadniczą ingerencję warszawskich twórców w oryginalny kształt libretta. Dokonane zmiany rozpoznane zostają jako rozbijające konsekwentną wizję niemieckiego autora i skutkujące wewnętrznymi niekonsekwencjami warszawskiej wersji opery, lecz zarazem z powodzeniem dostosowujące dzieło do gustu szerszych mas warszawskiej publiczności teatralnej.
APA, Harvard, Vancouver, ISO, and other styles
45

Rosmiati, Ana. "PILIHAN DIKSI DALAM PRODUCT PLACEMENT DALAM SINETRON TUKANG OJEK PENGKOLAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 2 (March 9, 2022): 129–43. http://dx.doi.org/10.33153/acy.v13i2.3998.

Full text
Abstract:
This research on the accuracy of diction in the placement of product placement in the soap opera Tukang Ojek Pengkolan (TOP) at the RCTI Television Station is interesting considering that there are advertising products that are inserted when the soap opera is running. Product placement has become a trend to be shown in soap operas and films in Indonesia with the aim of introducing products effectively because at the same time as the broadcast time, TOP soap operas are one of the soap operas that air on RCTI with high viewership ratings. The story in this soap opera is relatively light about the life of a motorcycle taxi driver. The problem in this research is how to choose an effective diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and how to place the product placement in the soap opera Tukang Ojek Pangkalan when viewed from the nature of the advertisement. The purpose of this study was to find an effective choice of diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and to describe the advertising nature of the product placement found in the soap opera Tukang Ojek Pengkolan. This type of research is a qualitative descriptive research. The data source in this study is the primary data source in the form of the soap opera Tukang Ojek Pengkolan (TOP).Keywords : Product placement, advertisement, soap opera TOP
APA, Harvard, Vancouver, ISO, and other styles
46

Ożarowska, Aleksandra. "Beyond the libretto." STRIDON: Studies in Translation and Interpreting 1, no. 2 (November 30, 2021): 49–63. http://dx.doi.org/10.4312/stridon.1.2.49-63.

Full text
Abstract:
Nowadays both intra- and interlingual surtitles are an inherent element of almost all opera produc­tions and, partly thanks to this technology, opera is now going through a renaissance. The trend of staging operas in a modernised fashion is especially popular these days, but it represents a particu­lar challenge for surtitlers. It is argued in this article that while surtitles accompanying traditional opera productions are usually intrasemiotic, as their source text is just the libretto, modernised productions often have intersemiotic surtitles. The article analyses fragments of surtitles prepared for four different operas staged in the Metropolitan Opera House, Bayerische Staatsoper and Royal Opera House. The result show that while traditionally surtitles provide the viewers with the mean­ing of the libretto, the role of intersemiotic surtitles is much more extended, as they provide the audience with more comprehensive information about the whole opera production.
APA, Harvard, Vancouver, ISO, and other styles
47

Zgliniecka, Paulina. "“Life-writing” in Aleksander Nowak’s Operas: Sudden Rain and Space Opera." Kwartalnik Młodych Muzykologów UJ 38, no. 3 (2018): 79–103. http://dx.doi.org/10.4467/23537094kmmuj.18.034.9735.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (August 3, 2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.

Full text
Abstract:
ABSTRACT‘Meta-operas’, that is, operas portraying the world of opera and its protagonists (such as impresarios, music directors, librettists and virtuosi), became increasingly common during the eighteenth century. Most of the scholarly literature on meta-opera, however, concentrates on the operas' poetic texts, their librettos. Scholars have dealt with these operas about operas almost as though they were spoken dramas, without taking into account the many ways in which metatheatrical practices and conventions are made more complex by the presence of music.What do meta-operatic scores look like? Are they similar to other ‘ordinary’ scores of the same time, or do their metatheatrical techniques set them aside as special? Considering a number of eighteenth-century works, this article points out how specific musical means can contribute to the overall effect of meta-operatic plots: the stratified nature of meta-narratives is, in fact, mirrored in the scores when realistic music is performed on stage. On these occasions, the presence of more than one layer of musical performance (of music and ‘music’) can be detected in the score. Furthermore, the presence of realistic music allows for a highly flexible treatment of standard operatic practices, and a number of passages work across conventional oppositions such as recitative/closed number, ‘real-life’/‘performed’ and ‘spoken’/‘sung’. Meta-operas, therefore, offer a special perspective on the presence of realistic music in opera.
APA, Harvard, Vancouver, ISO, and other styles
49

Cochran, Zoey M. "Virile Condottieri On-screen and Emasculated Heroes on the Operatic Stage: Portraying Male Protagonists in Fascist Italy (1931-1937)." Revue musicale OICRM 5, no. 1 (April 9, 2018): 63–91. http://dx.doi.org/10.7202/1044444ar.

Full text
Abstract:
Virility was central to Italian fascist ideology and yet the operas composed and performed in Italy during the 1930s systematically subvert the virility of their heroes both dramatically and musically, revealing a more fraught relationship with fascist ideology than has been suggested until now. A comparison between operas by Gian Francesco Malipiero, Ottorino Respighi, Pietro Mascagni, Ildebrando Pizzetti, and Alfredo Casella on the one hand and films by Alessandro Blasetti, Mario Camerini, and Carmine Gallone on the other, all produced in Italy during the mid-1930s, shows that the absence of male protagonists embodying fascist ideals of virility is confined to opera. I suggest that the failure of these operas to present virile male protagonists partly stems from a confrontation between opera and film. Indeed, the emergence of sound films and cinema’s privileged position within the Fascist regime forced opera to redefine itself as an art form in relationship to film.
APA, Harvard, Vancouver, ISO, and other styles
50

Izvarina, О. M. "Opera directing in the Ukrainian Musical Theatre in 20s of 20th century." Musical art in the educological discourse, no. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.

Full text
Abstract:
The article highlights the prerequisites for the formation of Ukrainian opera directing on the basis of materials from rare editions, musical criticism of the 1920s, memoirs of contemporaries, modern scientific research. The close connection of the Ukrainian opera direction with the traditions of the direction of the Ukrainian music and drama theatre is considered. The assimilation of the experience and creative achievements of the directors of the «theatre of the coryphaeuses» M. Staritsky, M. Kropiwnicki and M. Sadovsky is covered. The features of the stage life of operas of the classical repertoire on the Ukrainian opera scene of the 1920s are analysed. It is shown the widespread differences between the director’s interpretations of classical operatic works of this period with the aim of the so-called «modernizing» and “approaching the viewer”. It possess characteristic of the stage productions of the Ukrainian operas of the 1920s, the estimation of the director’s decisions of M. Bogolyubov, O. Ulukhanova, V. Manzi, E. Jungvald-Khilkevich, Yu. Lishansky, S. Butovskiy with the musical-critical thought and periodical press of this period. The importance of the productions of Ukrainian operas of the 1920s for the progressive development of national opera art and Ukrainian opera directing is proved.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Opers' for other source types:
Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography